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[Tomica]

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Susumu Yokota : Sakura full album(2000)

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Hiroshi Yoshimura was a Japanese composer and sound designer. He is considered a pioneer in ambient, environmental, and new age music. Born in Yokohama in 1940, he studied music as a child -- beginning piano studies at age five during the final year of the Second World War. He fell under the influence of various sound artists during the late '50s, including composers Toru Takemitsu and John Cage. In 1964 he graduated from Waseda School of Letters, Arts and Sciences II under the creative spell of the Fluxus movement and the work of Harry Partch and Erik Satie.

Yoshimura worked on integrating environmental music that combined graphic and sound design. He performed visual poetry, and worked on sound design construction for TOA, the storied Japanese manufacturer of amplifiers, signal processors, mixers, microphones, and speakers while working on his own art in his spare time. In 1972 he started the computer music group Anonyme. He fell under the spell of Brian Eno's ambient music during the 1970s, because it mirrored his own core sonic and atmospheric discoveries. His iconic debut album, Music for Nine Postcards, was released in 1982 on Sound Process. It was originally recorded at home on Fender Rhodes and an analog synthesizer as a demo to be played in the Hara Museum of Contemporary Art. Produced by Satoshi Ashikawa, it was later subtitled Wave Notations 1 and released as the first of the historic but short-lived series -- the producer's Still Way (Wave Notation 2) was the other one.

Yoshimura composed and designed sound for several independent cinema projects as well. Pier & Loft, released on Fukusei Gijutsu Kohboh in 1983, offered more contrasting sounds from experimental classical, ambient, and new age music. Arriving in 1984, A-I-R (Air In Resort) worked across both minimalist and new age genres, before Yoshimura gave way to the latter with Green in 1986. Later the same year he released Soundscape 1: Surround, a work of complete but gentle abstraction and precise sonic design. Yoshimura shifted to new classical music for 1988's Static, with assistance from pianist Satuki Shibano.

During his recording career, the composer joined the the engineering faculty at Chiba University, and also taught part-time in the industrial design department. He also served as an adjunct professor at Kunitachi College of Music Design. His focus was universal access to sound design; he convinced the school to sponsor public participation in workshops and sonic experiments at museums and galleries nationally. He would often use his students in his performances. He resumed recording with 1993's Wet Land, which walked the line between ambient, classical, and new age musics. A year later he released Face Music, an album commissioned by Shu Uemura Make Up School that mixed his own modern classical compositions in seamless beat-driven juxtaposition with works by Vivaldi, Scarlatti, and Caccini.

Yoshimura had become fascinated by global club culture, especially the downtempo music created for chillout rooms. Arriving in 1998, Quiet Forest, the final album released during his lifetime, employed everything from field recordings of nature and city streets to downtempo beats, ambient soundscapes, left-field abstraction, and classical schemas. Yoshimura continued to teach and accept commissions, making environmental music for runway shows, train stations, and prefab houses. He was diagnosed with skin cancer in 1999 and battled with the disease until it claimed his life in 2003. He continued working until the very end.

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This is the vinyl rip for Midori Takada - Through The Looking Glass

One of the most enticing and truly intoxicating pieces of recent years, Midori Takada's Through The Looking Glass is a very dreamlike journey in 4 chapters. Beyond its very impressive soundscapes and overall atmosphere, it's well known for its innovative recording techniques. Here's some information about how the tracks came to be:

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The title of the album, Through The Looking Glass, was adopted from Lewis Carroll's Alice In Wonderland. In the logic of Lewis Carroll, who was also a mathematician, one can discern a word beyond personal expression that has no relation to personal sentiment of desire. Sound separates itself from personal expression and in sound itself lies the possibility of substance. Midori says: "Within the tracks, numbers are intertwined symbolically - they are fluid while the tempo is ever-changing. On the reverse side, all the melodies are overturned. Through this process, it is constructed and formulated into a system. As the structure of this music became more system-based, I tried to disengage it from any self-expression. That is why I named this album Through The Looking Glass. The reflection on the mirror seems to show something, but I did not want to indulge in that. I wanted rather to force discernment of my true self that was beyond the reflection."

The "different directions" she used to explore that concept are ingenious. On the first track, "Mr. Henri Rousseau's Dream," she created a three-dimensional sound sculpture by carefully taking the distance between the microphone and each instrument into account. Takada says that she was trying to construct a perspective in sound." On "Crossing", Takada overdubbed an initial rhythm over a new rhythm, placing two performances that were still physically reverberating through the performer on top of one another, constructing a minimal, but heavy, percussive edifice. On the track "Trompe-l'oeil", Takada used offset rhythms to blur and expand that percussive resonance of the instruments, thickening the sound color. This track is also notable for the fact that Takada performed this composition using only a Cole bottle, bells, and a reed organ with a foot pedal! She describes the final track, "Catastrophe ε" as "an accelerando from start to finish, without allowing tempo and time to slip into one place". That Accelerando is thhe most aggressive progression on the album. As the tempo gradually increases, the piano and reed organ slowly build a wall of sound. The acceleration directs the listener's attention inward, towards the music itself, as opposed to its performance.
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I was very pleasantly surprised to find this little rarity on display on some shelf in a new nifty little boutique record store in my town, and picked it up right away as I was searching for it for quite a while. To me this is one of the most astounding, ground breaking records of our era. The history and the process of making this record and how carefully it was crafted (whether it's the philosophy of it or the fact that each instrument was layered infinitely to compensate any errors that could not be erased since it was recorded analogically) just add to the mix. If you will - give it a good listen with a good headset or system, in a dark room, and wait till the nearly Koyaanisquatsi-ish ending will make your heart pound with the force of a thousand suns.

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Fumio Miyashita

Musician, music therapist and founder of Healing Music in Japan. Fumio Miyashita began his musical career in 1966. In 1969, he was an original member of the rock musical, ‘Hair’, in Tokyo. He formed the progressive rock groups Far Out and Far East Family Band, releasing ground-breaking albums and touring internationally. Always interested in oriental philosophy since studying karate at a young age (he became a black belt in high school), he became interested in oriental medicine after an injury on stage that only healed after undergoing acupuncture. In 1977, he immigrated to the United States, where he continued to study oriental medicine, philosophy, the Chinese Five Elements and also began, in earnest, to research music therapy.

In 1981, he decided to return to Japan, moved to Shinshu Iizuna Highlands and established Biwa Studio. One reason for choosing Iizuna Highlands was because it’s altitude is 1,250 meters and during his studies he learned that this is a very positive and healthy altitude for the human body to reside in. There he created numerous works, including music CD’s and image videos. His passion was for creating music that was helpful to people and his recurring theme in his works was relaxation and healing for the mind and body. He named his music ‘Healing Music’ and he established his own unique style of music therapy.

Fumio Miyashita’s Journey from Martial Arts to Prog to Healing Ambient Music

https://daily.bandcamp.com/features/fumio-miyashita-wave-ambient-music-interview?from=hp_ambient

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[besposlenpop]

Ovo jedina japanska pjesma za koju znam:



上を向いて歩こう
涙がこぼれないように
思い出す 春の日
一人ぽっちの夜
上を向いて歩こう
にじんだ星をかぞえて
思い出す 夏の日
一人ぽっちの夜
幸せは 雲の上に
幸せは 空の上に
上を向いて歩こう
涙がこぼれないように
泣きながら 歩く
一人ぽっちの夜
思い出す 秋の日
一人ぽっちの夜
悲しみは星のかげに
悲しみは月のかげに
上を向いて歩こう
涙がこぼれないように
泣きながら 歩く
一人ぽっちの夜
一人ぽっちの夜

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Ovo jedina japanska pjesma za koju znam:



上を向いて歩こう
涙がこぼれないように
思い出す 春の日
一人ぽっちの夜
上を向いて歩こう
にじんだ星をかぞえて
思い出す 夏の日
一人ぽっちの夜
幸せは 雲の上に
幸せは 空の上に
上を向いて歩こう
涙がこぼれないように
泣きながら 歩く
一人ぽっちの夜
思い出す 秋の日
一人ぽっちの夜
悲しみは星のかげに
悲しみは月のかげに
上を向いて歩こう
涙がこぼれないように
泣きながら 歩く
一人ぽっちの夜
一人ぽっちの夜

popularna pjesma koja ima i bezbroj covera.

malo je poznato o čemu pjeva:

"Ue o Muite Arukō" (pronounced [ɯe o mɯꜜite aɾɯkoꜜː]) was written by lyricist Rokusuke Ei and composer Hachidai Nakamura. Ei wrote the lyrics while walking home from a Japanese student demonstration protesting against a continued US military presence in the country, expressing his frustration at the failed efforts.

The lyrics tell the story of a man who looks up and whistles while he is walking so that his tears will not fall. The verses of the song describe his memories and feelings. Rokusuke Ei wrote this song while coming back from a protest against the Treaty of Mutual Cooperation and Security Between the United States and Japan and feeling dejected about the failure of the protest movement, but the lyrics were rendered purposefully generic so that they might refer to any lost love.

[Tomica]

[Tomica]

[Tomica]

[bitvica]

[bitvica]

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noćas dok sam se družio sa zvijezdama okružen mačkama...ili... noćas dok sam se družio sa mačkama okružen zvijezdama, neznam zašto sjetih se žene s kojom sam proveo i doživjeli smo zajedno lijepe i fantastične trenutke. ona živi negdje između Belgije i Nizozemske.

Bärbel this song is for you xxx

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Ryuichi Sakamoto: Playing the Piano for the Isolated

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For 2 years I kept this for myself. Now I let go this beautifully, emotional music.
I've recorded this in Ghent, Belgium, on his 'An evening with ÓA'-tour, where he improvised to get new ideas for a new record.
The pictures were submitted by fans on his Tumblr, inspired by his latest album.
I have arranged the photos as the way it feels to get homogeneous with the music.

It's time to dream away...
Thank you.

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I know not many will read this, but I just feel like writing it down.

This song is so good that I hate it.
I hate it cause, it brings out all the memories and emotions that I had kept suppressed within. Every notes tugs the stings of my heart. And before I know, I'm drowning in the vast ocean of pain.
Yet, for some unexplainable reason, I don't want it to end. The last minute or so I feel like I'm flying amongst the birds near the lighthouse. Floating effortlessly, just one amongst the many others in my flock. Each one of us have a different story. A different pain. A different bag of burden that we carry along in this flight. This makes me realize, I'm not alone. We are not alone.

If you are reading this, then thank you. Stay strong. Keep flying.

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